Frame Composition in Ukrainian Film Theory of the 1920s and the Experience of Other Arts.
Identifikátory výsledku
Kód výsledku v IS VaVaI
<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F68378033%3A_____%2F25%3A00637738" target="_blank" >RIV/68378033:_____/25:00637738 - isvavai.cz</a>
Výsledek na webu
<a href="https://www.apparatusjournal.net/index.php/apparatus/article/view/380" target="_blank" >https://www.apparatusjournal.net/index.php/apparatus/article/view/380</a>
DOI - Digital Object Identifier
<a href="http://dx.doi.org/10.17892/app.2025.00020.380" target="_blank" >10.17892/app.2025.00020.380</a>
Alternativní jazyky
Jazyk výsledku
angličtina
Název v původním jazyce
Frame Composition in Ukrainian Film Theory of the 1920s and the Experience of Other Arts.
Popis výsledku v původním jazyce
This article explores a pivotal aspect of film construction: the composition of the cinematic frame within the context of Ukrainian film theory during the 1920s. Ukrainian film theorists align the cinematic frame with other artistic frameworks, thus placing frame composition within the realms of fine arts, photography, and even architecture. According to Ukrainian researchers, the expertise garnered from these art forms holds significance for the evolution of film, particularly in the 1920s. The assessment of lighting, diverse rhythmic patterns, and the study of stylistic frame composition amalgamate cinema with other art forms that have already grappled with these challenges extensively. The writings of Ukrainian film theorists, notably Leonid Skrypnyk as their foremost representative, underscore the pressing issues concerning cinematic frame composition in relation to other arts. By drawing from the experiences of preceding artistic traditions within cinematic practice, they advocate for stimulating further advancements in cinema.
Název v anglickém jazyce
Frame Composition in Ukrainian Film Theory of the 1920s and the Experience of Other Arts.
Popis výsledku anglicky
This article explores a pivotal aspect of film construction: the composition of the cinematic frame within the context of Ukrainian film theory during the 1920s. Ukrainian film theorists align the cinematic frame with other artistic frameworks, thus placing frame composition within the realms of fine arts, photography, and even architecture. According to Ukrainian researchers, the expertise garnered from these art forms holds significance for the evolution of film, particularly in the 1920s. The assessment of lighting, diverse rhythmic patterns, and the study of stylistic frame composition amalgamate cinema with other art forms that have already grappled with these challenges extensively. The writings of Ukrainian film theorists, notably Leonid Skrypnyk as their foremost representative, underscore the pressing issues concerning cinematic frame composition in relation to other arts. By drawing from the experiences of preceding artistic traditions within cinematic practice, they advocate for stimulating further advancements in cinema.
Klasifikace
Druh
J<sub>SC</sub> - Článek v periodiku v databázi SCOPUS
CEP obor
—
OECD FORD obor
60405 - Studies on Film, Radio and Television
Návaznosti výsledku
Projekt
—
Návaznosti
I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace
Ostatní
Rok uplatnění
2025
Kód důvěrnosti údajů
S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů
Údaje specifické pro druh výsledku
Název periodika
Apparatus. Film, Media and Digital Cultures in Central and Eastern Europe
ISSN
2365-7758
e-ISSN
—
Svazek periodika
2025
Číslo periodika v rámci svazku
20
Stát vydavatele periodika
DE - Spolková republika Německo
Počet stran výsledku
25
Strana od-do
(2025
Kód UT WoS článku
—
EID výsledku v databázi Scopus
2-s2.0-105012179486